Accattone (1961) 7.7
A pimp with no other means to provide for himself finds his life spiraling out of control when his prostitute is sent to prison. Director:Pier Paolo Pasolini |
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Accattone (1961) 7.7
A pimp with no other means to provide for himself finds his life spiraling out of control when his prostitute is sent to prison. Director:Pier Paolo Pasolini |
|
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| Cast overview, first billed only: | |||
| Franco Citti | ... |
Vittorio "Accattone" Cataldi
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Franca Pasut | ... |
Stella
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Silvana Corsini | ... |
Maddalena
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Paola Guidi | ... |
Ascenza
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Adriana Asti | ... |
Amore
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Luciano Conti | ... |
Il Moicano
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Luciano Gonini | ... |
Piede D'Oro
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Renato Capogna | ... |
Renato
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Alfredo Leggi | ... |
Papo Hirmedo
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Galeazzo Riccardi | ... |
Cipolla
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Leonardo Muraglia | ... |
Mammoletto
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Giuseppe Ristagno | ... |
Peppe
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Roberto Giovannoni | ... |
The German
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Mario Cipriani | ... |
Balilla
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Roberto Scaringella | ... |
Cartagine
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Pasolini's first film is a painfully realistic study of a pimp in Rome. Vittorio Accattone has never worked a day in his life, and has apparently made a good living prostituting his female companion, Maddalena. But her arrest begins his decline; hungry, he begs from churches and even visits his estranged wife and son. When Stella, a lovely and unbelievably innocent peasant worker, enters his life, Accattone tries to find a way, honest or not, to bring back good fortune... Written by Gary Dickerson <slug@mail.utexas.edu>
Accattone is a relentless study of the suffering that accompanies poverty. Pasolini utilises the well worn techniques of the Italian neo-realist moment to represent the depressing and oppressive life of a pimp - Accattone (played by the astonishing Franco Citti) - in the slums of post-war Rome. His life is beleaguered by guilt and self-disgust; his occupation, which is ostensibly the exploitation of women, causes the titular character untold despair. Ultimately he is unable to rationalise his need to eat with the suffering he causes to the women who work for him; they are, after all, also his lovers. Yet, Pasolini is careful to maintain the humanity of his protagonist by representing his hopeless situation as equally a result of his own doings as that of the social environment. Pasolini's Accattone is a masterful debut which expertly calls into service the devices of the cinema to convey a depressing but also compassionate narrative. His style is equal parts poetry and melodrama; a tough combo for any director. Some moments of this film are as tragically lyrical as those to be found in a film by Robert Bresson or Roberto Rossellini. Accattone is a commendable combination of style and substance which will leave few viewers unaffected.